Contemporary Television Series Contemporary Television Series: Narrative Structures and Audience Perception Edited by Valentina Marinescu, Silvia Branea and Bianca Mitu Contemporary Television Series: Narrative Structures and Audience Perception, Edited by Valentina Marinescu, Silvia Branea and Bianca Mitu This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Valentina Marinescu, Silvia Branea, Bianca Mitu and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5986-9, ISBN (13): 978-1-4438-5986-8 TABLE OF CONTENTS List of Figures............................................................................................ vii List of Tables ............................................................................................ viii Chapter One ................................................................................................. 1 Watching the Cops: Police Perceptions of Media Representations of Police work in British Television Crime Drama Marianne P. Colbran Chapter Two ............................................................................................. 16 Children’s Programmes and the Narration of TV Technology Åsa Petterson Chapter Three ........................................................................................... 26 Quebec Televisual Fiction after Real TV: More Complex and More Artistic TV Series Yves Picard and Pierre Barrette Chapter Four ............................................................................................. 41 Muhteşem Yüzyil or Muhteşem Rezalet: Controversy Surrounding the Television Series Muhteşem Yüzyil and the Crisis of Turkish Identity Cherie Taraghi Chapter Five .............................................................................................. 59 Narrative Structure Analysis of the 2012 Emmy Nominees for Drama TV Series: What Does the Pilot Episode Reveal? Célia Belim Chapter Six ............................................................................................... 94 Power, Money and Criminality in the New Bulgarian TV Series Valentina Gueorguieva vi Table of Contents Chapter Seven ......................................................................................... 104 Reconstructing Health: Perceptions and Representations of Medical TV Series Valentina Marinescu Chapter Eight .......................................................................................... 115 ‘America’s Favourite Serial Killer’: Enjoyment of the TV Serial Dexter Daniela Schlütz, Beate Schneider and Maik Zehrfeld Chapter Nine ........................................................................................... 133 Audience Perceptions of Health in Grey’s Anatomy TV Series Bianca Mitu Chapter Ten ............................................................................................ 143 A Postmodernist Reading of Greek Reality TV Anastasia Veneti, Achilleas Karadimitriou and Stamatis Poulakidakos Chapter Eleven ....................................................................................... 160 Scoping Interactivity: Conceptualizing the Post-Television Viewer Angie Chiang Chapter Twelve ...................................................................................... 172 ‘You Have Ten Fingers, I Have Ten Fingers, Let’s Be Friends’: The Post-Millennial Family in Bryan Fuller’s Dead Like Me and Pushing Daisies Vera Cuntz-Leng Chapter Thirteen ..................................................................................... 186 Satyameva Jayate and the Stardom that Looms: Emotional Stock Market in a Reality Show Sony Jalarajan Raj and Rohini Sreekumar Contributors ............................................................................................. 198 Index ........................................................................................................ 204 LIST OF FIGURES Figure 9-1 - The time people spend watching TV series Figure 9-2. Most viewed medical TV series Figure 9-3. Reasons for watching Grey’s Anatomy Figure 9-4. Do you view Grey’s Anatomy on TV or on the Internet Figure 9-5. Do you remember a particular health care issue or health cure from Grey’s Anatomy? Figure 9-6. Level of trust in the medical advice in Grey’s Anatomy Figure 9-7. What does it mean to be healthy? LIST OF TABLES Table 5-1. Corpus Table 5-2. Summary of the Pilot Episode’s Narrative Structure Analysis Table 8-1. Dimensions of entertainment from Dexter: Enjoyment and involvement (N = 853) Table 8-2. Dimensions of affective dispositions toward Dexter: Identification, empathy, and antipathy (N = 853) Table 8-3. Dimensions of morally judging Dexter (N = 853) 2 Table 8-4. Regression model (R adj. = .409) with enjoyment as dependent variable (N = 853) Table 10-1. Shows paving the way to the era of Reality Television Table 10-2. Miscellaneous TV Shows borrowing elements from Reality TV. The main reality shows on Greek television (domestic versions of global franchises) Table 10-3. Reality shows of confinement Table 10-4. Reality shows of survival Table 10-5. Talent shows Table 10-6. Reality shows of makeover theme Table 10-7. Reality shows aiming to highlight relationships of emotional interaction Table 10-8. Reality shows of advisory character CHAPTER ONE WATCHING THE COPS: POLICE PERCEPTIONS OF MEDIA REPRESENTATIONS OF POLICE WORK IN BRITISH TELEVISION CRIME DRAMA MARIANNE P. COLBRAN Introduction For many people, media sources—newspapers, films, fictional and ‘reality’ television shows are the main source of knowledge and perceptions of the police (Skogan, 1990; Mawby, 2003; Huey, 2010; Reiner 2010). There is considerable evidence to bear this out. In the Policing for London survey, 80% of respondents said that the news media were their principal source of information about the police while 29% of respondents got their information from ‘media fiction’ (Fitzgerald et al. 2002). In the British Crime Survey (2006–7), 59% of people said they got their information from television and radio news, with 10% citing media fiction. As a consequence of this, as Huey (2010) has pointed out, there has been a growing body of work particularly in the United States on the question of whether fictionalized and ‘reality-based’ television crime programmes have any impact on audience knowledge and expectations of the criminal justice system (Stenross & Kleinman, 1989; Podlas, 2006; Tyler, 2006; Mann, 2006; Shelton, Barak & Young, 2007; Schweitzer & Saks, 2007; Coles & Dioso-Villa, 2007). However, the issue of whether the police themselves perceive that television portrayals of police work might have an impact on both public expectations of the police role and on public co-operation with the police remains an open empirical question (Huey, 2010). Some work has been done in a U.S. context (Arcuri, 1977; Perlmutter, 2000; Huey, 2010) and in an Eastern European context (Branea and Guguianu, 2013) but to date no work has been done in this 2 Chapter One area in the United Kingdom. This study explores British police officers’ perceptions of the influence of police procedurals on public expectations of the police and on public interaction with the police. Through focus groups with officers from two different forces—the Metropolitan Police Service (MPS) and the Greater Manchester Police Service (GMP), I look firstly at these officers’ perceptions of mass media images of policing and how these affect police work and the public’s treatment of the police. Secondly, I examine whether police officers from these focus groups perceive mass media images of policing to have an impact on public expectations of the police; and thirdly, I explore how police officers from the focus groups might wish the police to be represented in crime fiction in ways which, in their opinion, might increase public understanding and support. Research In this paper, I draw on the results of three focus groups—one from the Greater Manchester Police (GMP) and two from the Metropolitan Police Service (MPS)—in which participants were asked to watch an episode of The Bill and then to engage in a semi-structured group discussion. There were six GMP officers (two male, four female) and two civilian indexers in the first focus group; eleven officers (nine male, two female) participated in the first MPS focus group and in the second MPS group, four officers (all male) and two civilian indexers participated. The officers in the GMP group and first MPS group were all detectives—their ranks ranging in both groups from Detective Inspector to Detective Constable. In the second MPS focus group, all the officers were uniformed and their ranks were either Sergeant or Constable. In the study, I refer to respondents only by the police service for which they work and not by rank or occupational group in order to ensure anonymity. The focus groups all started with a screening of an episode of The Bill, followed by a semi-structured group discussion. The Bill was a British police procedural television series that was broadcast on the ITV network from 16 October 1984 until 31 August 2010. The programme focused on the lives and work of one shift of police officers, both uniformed